A painting by Paul Orban showing a young traveler resting on a wall, with a path leading away toward a building on a hill. This painting illustrated an article by RW H. L. Haywood that was published in The New York Masonic Outlook, November, 1930.

description

A painting by Paul Orban showing a young traveler resting on a wall, with a path leading away toward a building on a hill. This painting illustrated an article by RW H. L. Haywood that was published in The New York Masonic Outlook, November, 1930.

Description

false

Artifact Date and Number:

1930, November; A64-147

artifact_date_and_number

1930, November; A64-147

Artifact Date and Number

false

Accession Date:

1900s, mid

accession_date

1900s, mid

Accession Date

false

Manufacture Time Period:

MTP6 (1901-1950)

manufacture_time_period

MTP6 (1901-1950)

Manufacture Time Period

false

Accession Time Period:

ATP4 (1926-1950)

accession_time_period

ATP4 (1926-1950)

Accession Time Period

false

Card Number:

1656

card_number

1656

Card Number

false

Nomenclature Term:

Painting

nomenclature_term

Painting

Nomenclature Term

false

Measurements in cm:

L: 51 W: 38.2

measurements_in_cm

L: 51 W: 38.2

Measurements in cm

false

Materials:

Cardboard; paint (multi-color); pencil

materials

Cardboard; paint (multi-color); pencil

Materials

false

Symbols:

Young man; staff; wall; path; mountain; building -s

symbols

Young man; staff; wall; path; mountain; building -s

Symbols

false

Artifact Manufacturer or Artist:

Paul Orban

artifact_manufacturer_or_artist

Paul Orban

Artifact Manufacturer or Artist

false

Manufacturer Location and State:

New York; NY

manufacturer_location_and_state

New York; NY

Manufacturer Location and State

false

Manufacturer Other:

2 East 12th Street; Phone, Stuyvesant 7055

manufacturer_other

2 East 12th Street; Phone, Stuyvesant 7055

Manufacturer Other

false

Owner or Subject:

Subject: Paul Orban

owner_or_subject

Subject: Paul Orban

Owner or Subject

false

Owner or subject Date Born:

1896

owner_or_subject_date_born

1896

Owner or subject Date Born

false

Owner or subject Date Died:

1974

owner_or_subject_date_died

1974

Owner or subject Date Died

false

Owner or Subject Other:

Paul Orban was an artist whose is best known for his illustrations of the science fiction and fantasy pulps and magazines, providing cover art and line work. "..his work appeared in countless titles including, but not limited to, 'Astounding Stories, Astounding Science-Fiction, Clues Detective Stories, Popular Detective, Skyfighters, Strange Stories, Terror Tales, Popular's Horror Stories, Texas Rangers, Thrilling Adventures, The Shadow, The Whisperer, The Phantom Detective, The Avenger, and Doc Savage.' [Orban illustrated 'Doc Savage'] from its first issue right up to its last in 1949." (Kalb, 2004)

owner_or_subject_other

Paul Orban was an artist whose is best known for his illustrations of the science fiction and fantasy pulps and magazines, providing cover art and line work. "..his work appeared in countless titles including, but not limited to, 'Astounding Stories, Astounding Science-Fiction, Clues Detective Stories, Popular Detective, Skyfighters, Strange Stories, Terror Tales, Popular's Horror Stories, Texas Rangers, Thrilling Adventures, The Shadow, The Whisperer, The Phantom Detective, The Avenger, and Doc Savage.' [Orban illustrated 'Doc Savage'] from its first issue right up to its last in 1949." (Kalb, 2004)

Owner or Subject Other

false

Owner or Subject Other 2:

Paul Orban "attended the Chicago Academy of Fine Arts and then started working for the 'Chicago Tribune', for which he illustrated several 'Fu Manchu' novels. Later he became an art director for an advertising agency. He then moved to New York and became a freelance artist, his work appearing in 'The New York Times', 'Reader's Digest', and many other non-genre magazines as well as in many pulps."Although Orban did some cover art, he mostly worked as an interior artist for the SF magazines. He used an attractive cross-hatched style that worked well on the inexpensive paper used for most pulp publications. Although Orban is remembered primarily as an artist who did a great deal of excellent work for 'Astounding SF', he also contributed to many other science fiction magazines." (Weinberg, 1988)

owner_or_subject_other_2

Paul Orban "attended the Chicago Academy of Fine Arts and then started working for the 'Chicago Tribune', for which he illustrated several 'Fu Manchu' novels. Later he became an art director for an advertising agency. He then moved to New York and became a freelance artist, his work appearing in 'The New York Times', 'Reader's Digest', and many other non-genre magazines as well as in many pulps.<br>"Although Orban did some cover art, he mostly worked as an interior artist for the SF magazines. He used an attractive cross-hatched style that worked well on the inexpensive paper used for most pulp publications. Although Orban is remembered primarily as an artist who did a great deal of excellent work for 'Astounding SF', he also contributed to many other science fiction magazines." (Weinberg, 1988)

Owner or Subject Other 2

false

Owner or Subject Other 3:

Paul Orban's Masonic work, while well-known to the readers of the Masonic Outlook, appears to have been entirely unknown in non-Masonic circles. He produced cover and interior art for the Outlook between 1929 and 1932, and the Chancellor Robert R Livingston Masonic Library of Grand Lodge is in possession of over seventeen original works by Paul Orban, most with Masonic themes.

owner_or_subject_other_3

Paul Orban's Masonic work, while well-known to the readers of the Masonic Outlook, appears to have been entirely unknown in non-Masonic circles. He produced cover and interior art for the Outlook between 1929 and 1932, and the Chancellor Robert R Livingston Masonic Library of Grand Lodge is in possession of over seventeen original works by Paul Orban, most with Masonic themes.

Owner or Subject Other 3

false

Donor:

GrandLodge-Donor; The Grand Lodge of New York

donor

GrandLodge-Donor; The Grand Lodge of New York

Donor

false

Donor Lodge Name Number Location and State:

The Grand Lodge of New York; New York; NY

donor_lodge_name_number_location_and_state

The Grand Lodge of New York; New York; NY

Donor Lodge Name Number Location and State

false

Details:

A painting made on a thick piece of artist's cardboard. There is an outline drawn in pencil close to the edge of the cardboard. The drawing in the center is outlined with black paint, within which is a scene showing a young man sitting on a wall. The wall to the left of where he is sitting is two bricks higher than the part he is sitting on, and the right side of the wall is covered with foliage.

details

A painting made on a thick piece of artist's cardboard. There is an outline drawn in pencil close to the edge of the cardboard. The drawing in the center is outlined with black paint, within which is a scene showing a young man sitting on a wall. The wall to the left of where he is sitting is two bricks higher than the part he is sitting on, and the right side of the wall is covered with foliage.

Details

false

Details 2:

The man's hair is cut below the ears and has bangs. He is looking to the right and is wearing an above-the-knee white tunic. At the neck, there is an opening in the center that extends to mid torso. The opening is closed with lacing. There is a dark-line border around the opening that extends around the neck. His right arm is bent at the elbow and he is holding a long staff which is slightly curved at the bottom. His left arm is straight, palm down on the wall. Behind the young man, on the left side of the painting, are trees that extend to the top of the painting.

details_2

The man's hair is cut below the ears and has bangs. He is looking to the right and is wearing an above-the-knee white tunic. At the neck, there is an opening in the center that extends to mid torso. The opening is closed with lacing. There is a dark-line border around the opening that extends around the neck. His right arm is bent at the elbow and he is holding a long staff which is slightly curved at the bottom. His left arm is straight, palm down on the wall. Behind the young man, on the left side of the painting, are trees that extend to the top of the painting.

Details 2

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Details 3:

The young man is wearing sandals that extend to around his ankles and that have two cut-out sections on top of the feet. His right foot is held behind him, with the inner part of the foot held down against the ground. His right leg is bent at the knee with the foot set squarely on the ground. There is a pathway in front of the wall that extends to the right side of the image and curves away. Beyond the curve of the pathway are small trees, creating a distance perspective.

details_3

The young man is wearing sandals that extend to around his ankles and that have two cut-out sections on top of the feet. His right foot is held behind him, with the inner part of the foot held down against the ground. His right leg is bent at the knee with the foot set squarely on the ground. There is a pathway in front of the wall that extends to the right side of the image and curves away. Beyond the curve of the pathway are small trees, creating a distance perspective.

Details 3

false

Details 4:

Beyond the small trees there is a landscape of increasingly higher hills. On the right, in the distance, is a large building at the top of a mountain. The building has very tall spires that extend to the top of the painting. On the mountain below the tall building, there are two small buildings with peaked roofs and columned walls. The mountainside in front of the smaller buildings is a steep, smooth cliff.

details_4

Beyond the small trees there is a landscape of increasingly higher hills. On the right, in the distance, is a large building at the top of a mountain. The building has very tall spires that extend to the top of the painting. On the mountain below the tall building, there are two small buildings with peaked roofs and columned walls. The mountainside in front of the smaller buildings is a steep, smooth cliff.

Details 4

false

Details 5:

Written in pencil on the reverse is "9354/1." Imprinted in the corner is the seal of the art board makers. Written in semi-circles above and below a central image of a stylized oak flower on a stem with an oak leaf on either side, is written, "Strathmore Drawing Board." Written across the center, on either side of the central image is "Trademark."

details_5

Written in pencil on the reverse is "9354/1." Imprinted in the corner is the seal of the art board makers. Written in semi-circles above and below a central image of a stylized oak flower on a stem with an oak leaf on either side, is written, "Strathmore Drawing Board." Written across the center, on either side of the central image is "Trademark."

Details 5

false

Details 6:

This painting was used to illustrate an article printed in the November, 1930 edition of The New York Masonic Outlook. The article was by RW H.L. Haywood and is titled, "About Brotherhood."Wit hin the article, Brother Haywood writes,"Freemaso nry does not hold that all men are equally qualified to enter the Brotherhood, but sets up standards of qualification and strict rules of selection; in other words, its doctrine of equality applies within the membership, not outside...A candidate comes to the door of initiation, poor, blind, and destitute; there is no supposition that he is already, and by nature, a Mason. The principle of apprenticeship, the system of advancement, the use of working tools and the doctrine that Masonry is a progressive science and a difficult art, all point the same lesson. The ritual presupposes that the candidate must be converted, regenerated, made over, raised from the dead level of his old ignorance and passions to a living perpendicular, before he becomes fit to live the Masonic life.

details_6

This painting was used to illustrate an article printed in the November, 1930 edition of The New York Masonic Outlook. The article was by RW H.L. Haywood and is titled, "About Brotherhood."<br>Within the article, Brother Haywood writes,<br>"Freemasonry does not hold that all men are equally qualified to enter the Brotherhood, but sets up standards of qualification and strict rules of selection; in other words, its doctrine of equality applies within the membership, not outside...A candidate comes to the door of initiation, poor, blind, and destitute; there is no supposition that he is already, and by nature, a Mason. The principle of apprenticeship, the system of advancement, the use of working tools and the doctrine that Masonry is a progressive science and a difficult art, all point the same lesson. The ritual presupposes that the candidate must be converted, regenerated, made over, raised from the dead level of his old ignorance and passions to a living perpendicular, before he becomes fit to live the Masonic life.

Details 6

false

Details 7:

The Doctrine of Mastership and the teaching of the Great Lights require him to learn not to give way to his impulses or to trust his raw emotions, but to circumscribe his passions and to hold himself in control. Masonry is a science of morality; it demands that the conscience veto the temptation to surrender to private lusts as against the welfare of the Brotherhood. At the same time it does not require the complete immolation or throwing away of the self in the interest of some authority, but teaches that through Mastership the self will reach its perfect consummation and fulfillment....for my part Masonry stands before me as something peculiar to itself, something that has been worked out under special conditions for a purpose of its own, and I do not believe that one can too often repeat the saying that Masonry must be interpreted in terms of itself rather than in the terms of something outside itself. The equality it teaches is Masonic equality; the charity is Masonic charity; its Landmarks are Masonic Landmarks; its law is Masonic law. (Haywood, 1930)

details_7

The Doctrine of Mastership and the teaching of the Great Lights require him to learn not to give way to his impulses or to trust his raw emotions, but to circumscribe his passions and to hold himself in control. Masonry is a science of morality; it demands that the conscience veto the temptation to surrender to private lusts as against the welfare of the Brotherhood. At the same time it does not require the complete immolation or throwing away of the self in the interest of some authority, but teaches that through Mastership the self will reach its perfect consummation and fulfillment....for my part Masonry stands before me as something peculiar to itself, something that has been worked out under special conditions for a purpose of its own, and I do not believe that one can too often repeat the saying that Masonry must be interpreted in terms of itself rather than in the terms of something outside itself. The equality it teaches is Masonic equality; the charity is Masonic charity; its Landmarks are Masonic Landmarks; its law is Masonic law. (Haywood, 1930)

Haywood, H.L.. About Brotherhood, The New York Masonic Outlook, The Board of General Activities of the Grand Lodge of New York, Boonville, NY, 1930;Kalb, Dave, The Avenger Archives website, 2004;Weinberg, Robert, A Biographical Dictionary of Science Fiction and Fantasy Artists, Greenwood Press, New York, 1988 [Please see this reference for a listing of Orban's published works.]

references

Haywood, H.L.. About Brotherhood, The New York Masonic Outlook, The Board of General Activities of the Grand Lodge of New York, Boonville, NY, 1930;<br>Kalb, Dave, The Avenger Archives website, 2004;<br>Weinberg, Robert, A Biographical Dictionary of Science Fiction and Fantasy Artists, Greenwood Press, New York, 1988 [Please see this reference for a listing of Orban's published works.]